Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
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artificial hells<br />
connected this oppression more explicitly to <strong>the</strong> economics <strong>of</strong> class inequality.<br />
His Invisible Theatre was aimed at training <strong>the</strong> public to be more<br />
conscious <strong>of</strong> class difference <strong>and</strong> to provide <strong>the</strong>m with a forum for articulating<br />
dissent. The didacticism <strong>of</strong> this approach cannot be denied, but <strong>the</strong><br />
artistic means devised to achieve it – an eruption <strong>of</strong> semi- staged confl ict in<br />
public space, combining scripted acting <strong>and</strong> unwitting real time dialogue<br />
– is a precedent for much contemporary art that seeks to go unannounced<br />
in public space.<br />
Boal is less known today for Invisible Theatre than for his internationally<br />
acclaimed technique <strong>of</strong> Forum Theatre, developed in Peru in 1973<br />
following a sobering experience in north- east Brazil when he came to<br />
underst<strong>and</strong> ‘<strong>the</strong> falsity <strong>of</strong> <strong>the</strong> “messenger” form <strong>of</strong> political <strong>the</strong>atre’. 70 If<br />
Invisible Theatre requires a great deal <strong>of</strong> rehearsal (in order to anticipate<br />
every possible outcome from <strong>the</strong> public), <strong>and</strong> maintains a division (albeit<br />
invisible) between <strong>the</strong> actors who attempt to steer <strong>the</strong> situation <strong>and</strong> audience<br />
who respond to it, Forum Theatre is more spontaneous, improvised,<br />
<strong>and</strong> takes place within a protected, educational framework; indeed, Boal<br />
has described it as ‘transitive pedagogy’. 71 Forum Theatre begins with a<br />
situation presented by actors to <strong>the</strong> audience, who <strong>the</strong>n take <strong>the</strong> part <strong>of</strong> <strong>the</strong><br />
protagonists to devise alternative courses <strong>of</strong> action to <strong>the</strong> events initially<br />
depicted; this can involve <strong>the</strong> performance <strong>of</strong> current situations (such as a<br />
factory dispute) or classic works (such as Brecht’s The Jewish Wife), where<br />
<strong>the</strong> spect- actors are asked, ‘would you do <strong>the</strong> same thing in her position?’<br />
The aim <strong>of</strong> Forum Theatre, writes Boal, ‘is not to win, but to learn <strong>and</strong> to<br />
train. The spect- actors, by acting out <strong>the</strong>ir ideas, train for “real life” action;<br />
<strong>and</strong> actors <strong>and</strong> audience alike, by playing, learn <strong>the</strong> possible consequences<br />
<strong>of</strong> <strong>the</strong>ir actions. They learn <strong>the</strong> arsenal <strong>of</strong> <strong>the</strong> oppressors <strong>and</strong> <strong>the</strong> possible<br />
tactics <strong>and</strong> strategies <strong>of</strong> <strong>the</strong> oppressed.’ 72 Boal’s aim was to have a constructive<br />
impact on <strong>the</strong> audience, ra<strong>the</strong>r than eliciting emotional responses to <strong>the</strong><br />
representation <strong>of</strong> diffi cult social reality. According to this thinking, <strong>the</strong><br />
play as a medium could be used for o<strong>the</strong>r purposes, namely, to brainstorm<br />
ways in which reality can be changed. In this way, alienation could be channelled<br />
to directly useful ends as <strong>the</strong> audience itself assumes <strong>the</strong> function <strong>of</strong><br />
protagonist. Inevitably, this redirects <strong>the</strong>atre towards education ra<strong>the</strong>r than<br />
entertainment, but not in <strong>the</strong> traditional sense <strong>of</strong> political <strong>the</strong>atre; ra<strong>the</strong>r, it<br />
is informed by Freire’s rejection <strong>of</strong> <strong>the</strong> ‘banking’ model <strong>of</strong> education in<br />
favour <strong>of</strong> shared knowledge: ‘it is not <strong>the</strong> old didactic <strong>the</strong>atre. It is pedagogical<br />
in <strong>the</strong> sense that we all learn toge<strong>the</strong>r, actors <strong>and</strong> audience’. 73<br />
As a critique <strong>of</strong> traditional <strong>the</strong>atre <strong>and</strong> its conventional fate as compensatory<br />
entertainment or catharsis, <strong>the</strong> Theatre <strong>of</strong> <strong>the</strong> Oppressed is presented<br />
by Boal as <strong>the</strong> culmination <strong>of</strong> previous spectatorial paradigms, including<br />
Aristotle, Machiavelli <strong>and</strong> Brecht. In Aristotelian tragedy, catharsis purifi es<br />
<strong>the</strong> audience <strong>of</strong> <strong>the</strong>ir antisocial characteristics (through <strong>the</strong>ir identifi cation<br />
with <strong>the</strong> protagonist’s hamartia). The function <strong>of</strong> this is to maintain social<br />
124